Exegetical and Hermeneutical Commentary of 1 Corinthians 14:7
And even things without life giving sound, whether pipe or harp, except they give a distinction in the sounds, how shall it be known what is piped or harped?
7. except they give a distinction in the sounds ] The effect of a melody depends entirely upon the distinction of its musical intervals. The effect of speech in like manner is dependent upon its being the communication of definite ideas.
Fuente: The Cambridge Bible for Schools and Colleges
Things without life – Instruments of music.
Whether pipe – This instrument ( aulos) was usually made of reeds, and probably had a resemblance to a flageolet.
Or harp – This instrument ( kithara) was a stringed instrument, and was made in the same way as a modern harp. It usually had ten strings, and was struck with the plectrum, or with a key. It was commonly employed in praise.
Except they give a distinction in the sounds – Unless they give a difference in the tones, such as are indicated in the gamut for music.
How shall it be known … – That is, there would be no time, no music. Nothing would be indicated by it. It would not be suited to excite the emotions of sorrow or of joy. All music is designed to excite emotions; but if there be no difference in the tones, no emotion would be produced. So it would be in words uttered. Unless there was something that was suited to excite thought or emotion; unless what was spoken was made intelligible, no matter how important in itself it might be, yet it would be useless.
Fuente: Albert Barnes’ Notes on the Bible
Verse 7. And even things without life] I may, as if he had said, illustrate this farther by referring to a pipe or harp; if these were to utter mere sounds without order, harmony, or melody, though every tone of music might be in the sounds, surely no person could discern a tune in such sounds, nor receive pleasure from such discords: even so is the person who speaks in an unknown tongue, but does not interpret. His speech tends no more to edification than those discordant and unmeaning sounds do to pleasure and delight.
Fuente: Adam Clarke’s Commentary and Critical Notes on the Bible
In the sounds which are artificially made by the use of wind music, or other music, nothing could be understood, if art had not also devised a distinction in the sounds; that one sound should signify one thing, another sound should signify another thing: so unless the voice of the teacher be significant to, and understood by, the person instructed or taught, the sound is of no use at all.
Fuente: English Annotations on the Holy Bible by Matthew Poole
7. Translate, “And thingswithout life-giving sound, whether pipe or harp, YET(notwithstanding their giving sound) if they give not adistinction in the tones (that is, notes) how?” &c.
what is piped or harpedthatis, what tune is played on the pipe or harp.
Fuente: Jamieson, Fausset and Brown’s Commentary Critical and Explanatory on the Whole Bible
And even things without life giving sound,…. He instances in things inanimate, that have neither reason, sense, nor life, in musical instruments, and these of various sorts:
whether pipe or harp; wind music, or hand music; either that which is blown with the breath, or pressed or stricken with the hand:
except they give a distinction in the sounds; or “tunes”, so as one may be discerned from another; as that this is such a musical note, and that is another:
how shall it be known what is piped or harped? what tune is played; such an use of instruments would be a mere jargon, and not music, and so yield no pleasure to the ear, or mind; and just the like must speaking in an unknown tongue be, to one that understands it not.
Fuente: John Gill’s Exposition of the Entire Bible
Things without life (). Without a soul ( privative, ) or life. Old word only here in N.T.
Pipe (). Old word (from , , to blow), only here in N.T.
Harp (). Old word. Stringed instrument as pipe, a wind instrument.
If they give not a distinction in the sounds ( ). Third class condition with second aorist active subjunctive from . Common word in late Greek for difference (, to send apart). In N.T. only here and Rom 3:22; Rom 10:12. old word (from ) for musical sounds vocal or instrumental. In N.T. only here and Ro 10:18.
Fuente: Robertson’s Word Pictures in the New Testament
Voice [] . See on sound, Rom 10:18. The sound generally. Used sometimes of sounds emitted by things without life, as a trumpet or the wind. See Mt 24:31; Joh 3:8.
Harp [] . See on Rev 5:8.
Distinction [] . Proper modulation. Compare the use of the word in Rom 3:22; Rom 10:12.
Sounds [] . The distinctive sounds as modulated. See on Rom 10:18.
Fuente: Vincent’s Word Studies in the New Testament
SOUNDS USELESS WITHOUT A CLEAR SENSE
1) “And even things without life giving sound,” (homos ta apsucha phonen didonta) “Yet even lifeless things giving (out) a sound.” Even inanimate, lifeless things with sounds that are serviceable or helpful must be intelligible,
2) “Whether pipe or harp,” (eite aulos eite kithara) “Whether pipe or harp.” Whether stringed or percussion instrumental sounds. When Solomon’s temple was dedicated, musical sounds were “as one,” 2Ch 5:12-13.
3) “Except they give a distinction in the sounds,” (ean diastolen tois phthogois me ido) “If they give not a distinction in the sounds,” variety, distinction, and differentiation of sounds, harmoniously put together make music, convey a message; otherwise the sounds are vexing, useless.
4) “How shall it be known what is piped or harped?” (pos gnosthesetai to auloumenon he to kitharizomenon) “How will it be known — the thing being piped or the thing being harped?” There is no way to profit from musical sounds except they be unified in purpose. Whether they be a call to victory or retreat, praise or sorrow. In like manner tongues must be interpreted, distinct, made intelligible to the audience, else they would be useless.
Fuente: Garner-Howes Baptist Commentary
7. Nay even things without life. He brings forward similitudes, first from musical instruments, and then afterwards from the nature of things generally, there being no voice that has not some peculiarity, suitable for distinction. (815) “Even things without life,” says he, “instruct us.” There are, it is true, many random sounds or crashes, without any modulation, (816) but Paul speaks here of voices in which there is something of art, as though he had said — “A man cannot give life to a harp or flute, but he makes it give forth a sound that is regulated in such a manner, that it can be distinguished. How absurd then it is, that even men, endowed with intelligence, should utter a confused, indistinguishable sound!”
We must not, however, enter here upon any minute discussion as to musical harmonies, inasmuch as Paul has merely taken what is commonly understood; as, for example, the sound of the trumpet, (817) of which he speaks shortly afterwards; for it is so much calculated to raise the spirits, that it rouses up — not only men, but even horses. Hence it is related in historical records, that the Lacedemonians, when joining battle, preferred the use of the flute, (818) lest the army should, at the first charge, rush forward upon the enemy with too keen an onset. (819) In fine, we all know by experience what power music has in exciting men’s feelings, so that Plato affirms, and not without good reason, that music has very much effect in influencing, in one way or another, the manners of a state. To speak into the air is to beat the air (1Co 9:26) to no purpose. “Thy voice will not reach either God or man, but will vanish into air.”
(815) “ C’est a dire, pour signifier quelque chose;” — “That is to say, for signifying something.”
(816) “ Sans mesure ou distinction;” — “Without measure or distinction.”
(817) “It is well known that trumpets were exclusively employed in almost all ancient armies, for the purpose of directing the movements of the soldiers, and of informing them what they were to do — as when to attack, advance, or retreat. This was the custom in even the most early Jewish armies, as the Law directed two silver trumpets to be made for the purpose. (Num 10:1.) Of course, a distinction of tones was necessary, to express the various intimations which were in this manner conveyed; and if the trumpeter did not give the proper intonation, the soldiers could not tell how to act, or were in danger, from misconception, of acting wrongly.” Illustrated Commentary. — Ed.
(818) “ Ils vsoyent plustost de fluste, que de trompette;” — “They used the flute, rather than the trumpet.”
(819) The use of the flute on such occasions by the Lacedemonians, is supposed by Valerius Maximus to have “been intended to raise the courage of the soldiers, that they might begin the onset with greater violence and fury;” but the reason stated by Calvin accords with the account given of it by Thucydides (with whom the rest of the ancient historians agree) — that it was designed to “render them cool and sedate — trumpets and other instruments being more proper to inspire with heat and rage;” which passions they thought were “fitted rather to beget disorder and confusion, than to produce any noble and memorable actions — valor not being the effect of a sudden and vanishing transport, but proceeding from a settled and habitual firmness and constancy of mind.” Potter’s Gr. Ant. volume 2. — Ed.
Fuente: Calvin’s Complete Commentary
(7) And even things without life.The pipe and harp were the best-known instruments, and the principle just laid down of the inutility of sounds unless they be distinctive is illustrated by reference to them. Whether it was a harp or a pipe which was being played you could not know unless each gives a distinct sound of its own. The point here is not, as the English seems to suggest, that there must be a difference in tune, so as know what is being piped or harpedthat illustration comes in in the next versebut that each instrument has its own peculiar sound.
Fuente: Ellicott’s Commentary for English Readers (Old and New Testaments)
7-9. Paul illustrates the inutility of uninterpreted tongues by the worthlessness of a signal instrument as a trumpet signaling the commencement of battle which has no significant notes.
Fuente: Whedon’s Commentary on the Old and New Testaments
7. Distinction Into high or low, sharp or obtuse, etc.
Fuente: Whedon’s Commentary on the Old and New Testaments
‘Even things without life, giving a voice (noise), whether pipe or harp, if they give not a distinction in the sounds, how shall it be known what is piped or harped?’
Let them consider the example of worldly things which make noises. Even though they are without life we still expect them to make intelligible noises. If they play sounds which are not distinctive who will know what is being conveyed? The player must ensure that the music he produces is meaningful to the hearer. The inference is that we who have life and are intelligent should ensure that we make noises in public that are intelligible, whereas there is nothing in tongues that can be distinguished by men, and from which they can themselves benefit.
Fuente: Commentary Series on the Bible by Peter Pett
Public utterance is valueless without clear understanding:
v. 7. And even things without life, giving sound, whether pipe or harp, except they give a distinction in the sounds, how shall it be known what is piped or harped?
v. 8. For if the trumpet give an uncertain sound, who shall prepare himself to the battle?
v. 9. So likewise ye, except ye utter by the tongue words easy to be understood, how shall it be known what is spoken? For ye shall speak into the air.
v. 10. There are, it may be, so many kinds of voices in the world, and none of them is without signification.
v. 11. Therefore, if I know not the meaning of the voice, I shall be unto him that speaketh a barbarian, and he that speaketh shall be a barbarian unto me.
v. 12. Even so ye, forasmuch as ye are zealous of spiritual gifts, seek that ye may excel to the edifying of the church.
v. 13. Wherefore, let him that speaketh in an unknown tongue pray that he may interpret. The apostle here draws an inference from the lesser to the greater: Likewise lifeless things, though they give forth sound, such as the flute or the harp, yet unless there is a distinction in their tones or sounds, how will that which is being piped or harped be distinguished? The apostle is here referring either to the quality of the sounds or to the intervals or to the distinction of pitch, whatever distinguishes the music of various instruments. If players permit the notes to run together in absolute confusion, with an utter disregard of the laws of harmony and of the limitations of the several instruments, how can the listener make out the air? Instead of a melody, he will hear nothing but confused noises. And likewise, if the trumpet that gives the signals in war or in battle gives forth an uncertain voice, the soldiers will not be able to distinguish whether they are to advance or to retreat or to execute some other movement: a disastrous situation.
The application of the two figures of comparison is easy: Likewise also unless you with the tongue, in making use of the gift of tongues, give forth a distinct speech, words whose meaning is clear to the hearers, how will that which is spoken be distinguished, understood, by the hearers? For you will be such as speak into the air. All the fine speaking in the church assemblies, whether it is done in strange languages or in that which the people themselves have asked for, is without value and worse than useless, if its content is not clear to the congregation, if the hearers do not get the speaker’s finely articulated words and well-modulated sentences. Note: There is far too much preaching in our days which embodies all the excellencies of the text-books as to outline, diction, paragraphing, etc. , but lacks that one most important point: edifying clearness. The motto of our days seems to be: Wash me, but do not make me wet; that is, either: Smooth down the rugged text to ears polite, and snugly keep damnation out of sight, or: Keep out the love of God with all your might, and snugly shut salvation out of sight.
For the sake of making the situation plain, Paul adds the example of the multitude of human languages and dialects: Ever so many kinds of voices are, as it happens, in the world, and none of them voiceless. In all the great number of languages throughout the world, wherever people use their voice as a medium of communication, there is not one that has not the fundamental requirement of a language: It has a meaning for somebody; it may be understood by such as are familiar with it. It follows, then, that if I do not know the meaning of the voice, if I do not comprehend its significance, I shall be to him that speaks a barbarian, and he that speaks a barbarian in relation to me. The word barbarian was applied by the Greeks and Romans to all people that did not speak their tongue. A strange language will be to me a confused jargon of sounds, and I cannot comprehend its meaning; there can be no understanding. Thus all uninterpreted tongues in the public service of the congregation are useless, and the very fact that the foreign tongue may convey a precious meaning may be all the more provoking.
The apostle now makes the application to the situation in Corinth: Likewise yourselves, so also in your case; since you are eager for spiritual gifts, for the edification of the congregation make all efforts that you may excel in them. That is the proper zeal in seeking spiritual gifts, not to covet them for one’s own gratification and self-glorification, but to have in mind always the real object of all spiritual gifts, the edification of the congregation, the service of the Church. Therefore let him that speaks with a tongue pray that he may interpret. Outward impression and prestige count for nothing in the Church, and may even work great harm. If the speaker with tongues could therefore afterwards recall some of the things which he uttered while his mouth was the instrument of the Holy Spirit and could translate the sayings into ordinary rational speech, that would be worthwhile, that would make his gift of value to the congregation. And therefore he should earnestly covet, by means of prayer, this interpretation of his own utterances.
Fuente: The Popular Commentary on the Bible by Kretzmann
1Co 14:7 . The uselessness of a discourse remaining in this way unintelligible is now shown by the analogy of musical instrument.
] is paroxytone, and means nothing else than tamen (Vulgate), but is put first here and in Gal 3:15 , although logically it ought to come in only before . . .; hence it is to be explained as if the order was: , . , , , , . . , . . . It is rightly taken by Chr. F. Fritzsche, Nov. opusc. p. 329. Comp. C. F. A. Fritzsche, Conject. I. p 52: “instrumenta vitae expertia, etiamsi sonum edunt, tamen , nisi distincte sonent, qui dignoscas,” etc. So Winer, also, at last (Exo 6 ; Exo 7 , p. 515 [E. T. 693]), and, in like manner, Buttmann, neut. Gr. p. 264 [E. T. 308]. To analyse it into , , . . . (Winer formerly, comp. Rckert), brings out an antithetic relation which could not be calculated on from the context. For what is to be expressed is not that the instruments, although lifeless, nevertheless sound ; but this, that the lifeless instruments, although they sound, nevertheless give out no intelligible melody, unless, etc. As regards the hyperbaton, common with classical writers also, by which , instead of following the participle, goes before it, [3] see Matthiae, 566, 3; Krger, Lev 13:3 ; Stallbaum, ad Plat. Rep. p. 495 D; Ast, Lex. Plat. II. p. 447; Jacobs, ad Del. epigr. p. 232. That stands for , and should be accented (comp. Lobeck, ad Soph. Aj. p. 480, Exo 2 ) (Faber, Alberti, Wetstein, Hoogeveen, and others), is as erroneous ( means: equally, together ) as Kypke’s assertion that the paroxytone means similiter .
] giving forth , as Pind. Nem. v. 93; Jdt 14:9 . is used of the voice of musical instruments in Sir 50:16 ; 1Es 5:64 ; 1Ma 5:31 , al. Comp. Plat. Tim . p. 47 C; , Pol. iii. p. 397 A; Plut. Mor. p. 713 C; Eur. Tro. 127.
. . .] If they (the ) shall not have given a distinction to the sounds , if they shall have sounded without bringing out the sounds in definite, distinctive modulation. “ Harmoniam autem ex intervallis sonorum nosse possumus,” Cic. Tusc. i. 18. 41. Comp. Plat. Phileb . p. 7 C D, and Stallbaum in loc.
. . . . .] how shall that be recognised which is played upon the flute or upon the cithern? i.e. how can it then possibly happen that one should recognise a definite piece of music (a melody) from the sounds of the flute or the cithern? One is none the wiser from them as to what is being played. The repetition of the article is quite correct: what is being played on the flute, or again , in the other supposed case, what is played upon the cithern . Rckert takes it as meaning, How is it possible to distinguish between flute and cithern? Inappropriate, in view of the essentially different character of the two instruments, and seeing that the question in the context (comp. 1Co 14:9 ) is not as to distinguishing between the instruments, but as to understanding the melody.
It may be observed, further, that the analogy in 1Co 14:7 would be unsuitable, if Paul had been thinking of foreign languages , since these would not have lacked the of the sounds. This holds also in opposition to the view of the matter which makes it an utterance of glosses , as likewise in opposition to Wieseler’s conception of a soft , seeing that in 1Co 14:7 it is not the strength of the sound, but its distinctness (comp. Wieseler himself in 1860, p. 114), in virtue of which it expresses a melody, which is the point of comparison.
[3] Not always immediately before, as Hofmann opines that Paul must have written: . . See Jacobs, l.c. ; also Reisig, Enarr. Oed. Col . p. xlvi. Comp., too, 4Ma 13:26 .
Fuente: Heinrich August Wilhelm Meyer’s New Testament Commentary
7 And even things without life giving sound, whether pipe or harp, except they give a distinction in the sounds, how shall it be known what is piped or harped?
Ver. 7. Except they give a distinction ] Unisono nihil auribus molestius. Discords in music make the best harmony. Through all Turkey there runs one tune, nor can every man play that; yet scarcely any but hath a fiddle with two strings.
Fuente: John Trapp’s Complete Commentary (Old and New Testaments)
7 11. ] Instances to shew that unintelligible discourse profits nothing . And first, 7 9 .] from musical instruments .
Fuente: Henry Alford’s Greek Testament
7. ] occurs here and in the two other places where it is used in the N. T. (reff.) at the beginning of the sentence, out of its logical order, which would be before , thus: Things without life which yield sound, whether flute or harp, yet, if they do not , &c.
The renderings, ‘ even things without life’ (E. V.), or ‘things which, though without life, yet give sound’ (Winer, edn. 6, 61. 5. f.), are inadmissible, the former because of the usage of the latter because no such idea as any surprise at a thing without life yielding sound is here in place.
. . ] so Pind. Nem. 5:93.
.] If they (the . .) shall not have yielded a distinction (of musical intervals) in their tones, how shall be known that which is being played on the flute or that which is being played on the harp (i.e. what tune is played in either case: the art. being repeated to shew that two distinct instances are contemplated, not necessarily ‘ one tune, either piped, or harped ’ = ;)? The observation of Meyer, that this example is decisive against foreign languages being spoken in the exercise of this gift, is shewn to be irrelevant by the next example, from which the contrary might be argued the of the trumpet being exactly analogous to an unknown language , not to an inarticulate sound . But the fact is that all such inferences, from pressing analogies close, are insecure.
Fuente: Henry Alford’s Greek Testament
1Co 14:7-13 . 45. UTTERANCE USELESS WITHOUT CLEAR SENSE. P. has just asked what the Cor [2034] would think of him, if in their present need he came exhibiting his power as a speaker with Tongues, but without a word of prophetic inspiration or wise teaching to offer. Such speech would be a mockery to the hearers. This holds good of sound universally, when considered as a means of communication in the case, e.g ., of lifeless instruments, the flute and lyre with their modulated notes, or the military trumpet with its varied signals (1Co 14:7 f.); so with articulate speech, in its numberless dialects. To the instructed ear every syllable carries a meaning; to the foreigner it is gibberish (1Co 14:10 f.). Just as useless are the Tongues in the Church without interpretation (1Co 14:9 ; 1Co 14:12 f.).
[2034] Corinth, Corinthian or Corinthians.
Fuente: The Expositors Greek Testament by Robertson
1Co 14:7 . , “Quin et inanima” (Cv [2035] ); as in Gal 3:15 , the part [2036] emphasises the word immediately following, not (“though giving sound”) in contrast to (so however Wr [2037] , Gm [2038] , Mr [2039] , Sm [2040] : “yet unless they give a distinction, etc.”). The argument is a minori ad majus , from dead instruments to living speech: “Yet even in the case of lifeless things ( , generic art [2041] ) when they give sound, unless they give a distinction in their notes” (so Hf [2042] , Ed [2043] , Gd [2044] , El [2045] ). denotes a measured, harmon ous sound, whether of voice (Rom 10:18 ) or instrument; see Plato, Tim . 80 is referred by Lidd [2046] , and by Ev [2047] ad loc [2048] , to the pause between notes; by most others (after Plato, Phileb ., 17C; cf. Oec [2049] ad loc [2050] ) to the interval (= ) or distinction of pitch; possibly (so Cv [2051] , El [2052] ) it includes both in untechnical fashion whatever in fact distinguishes the . . . .; “How will that which is being piped or harped be discerned?” how will the air be made out, if the notes run confusedly into one another? The double art [2053] , . ., separates the two sorts of music. This comparison used applies to inarticulate , not to foreign languages.
[2035] Calvin’s In Nov. Testamentum Commentarii .
[2036]art. grammatical particle.
[2037] Winer-Moulton’s Grammar of N.T. Greek (8th ed., 1877).
[2038] Grimm-Thayer’s Greek-English Lexicon of the N.T.
[2039]
[2040] P. Schmiedel, in Handcommentar zum N.T. (1893).
[2041] grammatical article.
[2042] J. C. K. von Hofmann’s Die heilige Schrift N.T. untersucht , ii. 2 (2te Auflage, 1874).
[2043] T. C. Edwards’ Commentary on the First Ep. to the Corinthians . 2
[2044] F. Godet’s Commentaire sur la prem. p. aux Corinthiens (Eng. Trans.).
[2045] C. J. Ellicott’s St. Paul’s First Epistle to the Corinthians .
[2046]idd. Liddell and Scott’s Greek-English Lexicon.
[2047]
[2048] ad locum , on this passage.
[2049] Oecumenius, the Greek Commentator.
[2050] ad locum , on this passage.
[2051] Calvin’s In Nov. Testamentum Commentarii .
[2052] C. J. Ellicott’s St. Paul’s First Epistle to the Corinthians .
[2053] grammatical article.
Fuente: The Expositors Greek Testament by Robertson
And even = Nevertheless. Greek. homos. Only here, Joh 12:42. Gal 1:3, Gal 1:15.
without life. Greek. apsuchos. Only here.
sound. Greek. phone, voice.
whether, or. Greek. eite.
pipe. Greek. aulos. Only here.
harp. Greek. kithara. Only here and Rev 5:8; Rev 14:2; Rev 15:2.
distinction. Greek. diastole. See Rom 3:22.
sounds. Greek. phthongos. Only here and Rom 10:18. Not the same word as in the first part of the verse.
known. App-132.
piped. Greek. auleo. Only here, Mat 11:17. Luk 7:32.
harped. Greek. kitharizo. Only here and Rev 14:2.
Fuente: Companion Bible Notes, Appendices and Graphics
7-11.] Instances to shew that unintelligible discourse profits nothing. And first,-7-9.] from musical instruments.
Fuente: The Greek Testament
1Co 14:7. -, a pipe-a harp) Two of the chief musical instruments; not only the pipe, which is, as it were, animated by the breath of the piper, but also the harp.- , in the sounds) The ablative case comp. by, 1Co 14:9.- , how shall it be known) how shall pipe be distinguished from pipe, and harp from harp? There is one and then another sound of one and the same instrument, when it is directed to different things.
Fuente: Gnomon of the New Testament
1Co 14:7
1Co 14:7
Even things without life, giving a voice, whether pipe or harp, if they give not a distinction in the sounds, how shall it be known what is piped or harped?-[Even the lifeless instruments, if they are to speak in the language of music, and affect the feelings and passions of those who hear them, must give a distinction in sounds. That is, be subject to the laws of tone and rhythm, to the interval of scale and measure. This illustration is to show the uselessness of making sounds which are not understood. And it is plain from what follows, as well as from the whole context, that the point of analogy is that as we cannot know what is piped or harped, or be benefited by it unless we can discriminate the sounds emitted, so we cannot be benefited by listening to one who speaks in a language which we do not understand. The point is, not the folly of the gift, but the use made of it.]
Fuente: Old and New Testaments Restoration Commentary
things: 1Co 13:1
except: 1Co 14:8, Num 10:2-10, Mat 11:17, Luk 7:32
sounds: or, tunes
Reciprocal: Mar 13:14 – let him
Fuente: The Treasury of Scripture Knowledge
1Co 14:7. Without life, giving sound, means things that do not have life yet that give off sounds, such as the pipe or harp. Give a distinction. These instruments should be so used as to conform to some accepted code, else they would mean nothing to a hearer. The blasts of a locomotive would mean nothing to railroad men, if they were not made according to the code in use by the company.
Fuente: Combined Bible Commentary
1Co 14:7. Even things without life giving sound, whether pipe or harpthe only kind of musical instruments known to the Greeks.if they give not a distinction in the soundsor notes, such as to denote some musical ideas,how shall it be known what is piped or harped?what are the ideas intended.
Fuente: A Popular Commentary on the New Testament
Our apostle here proceeds to illustrate his former arguments by a similitude taken from musical instruments, the one used in peace, to wit, the harp; the other in war, to wit, the trumpet; as they are useless, if by distinction their signification is not perceived; for if a man hears not, or understands not, the sound of the harp or trumpet, he cannot prepare himself either for the dance, or the battle: so if persons in the church do not speak intelligibly, they will nothing edify: it is like beating the air, all is vain and to no purpose.
Fuente: Expository Notes with Practical Observations on the New Testament
1Co 14:7-9. And even Greek, , in like manner, (the word, it seems, being here used for , as it sometimes is by the poets, see Beza and Macknight,) things without life Inanimate things; whether pipe or harp Or any other instrument of music; except they give a distinction Greek, , a difference to the notes. Among musicians, the former word signifies the measured distance between sounds, according to certain proportions, from which the melody of a tune results. And Raphelius has shown that the latter word, as distinguished from , voice, signifies a musical sound, a note in music. How shall it be known what is piped or harped What music can be made, or what end answered? For Or, moreover; in war, if Instead of sounding those notes whose meaning is understood by the soldiers, the trumpet give an uncertain sound, who shall prepare himself to the battle How could soldiers know when to advance or when to retreat, unless the trumpet sounds were adjusted, and constantly adhered to? So likewise In your religious assemblies; except ye utter words easy to be understood Significant words, to which the ears of your auditory are accustomed; how shall it be known what is spoken What is intended to be signified by your expressions? For ye shall speak into the air (A proverbial expression,) you will utterly lose your labour.
Fuente: Joseph Bensons Commentary on the Old and New Testaments
Vv. 7, 8. Even things without life giving sound, whether pipe or harp, except they give a distinction in the sounds…, how shall it be known what is piped or harped? 8. For, also, if the trumpet give an uncertain sound, who shall prepare himself to the battle?
If the sound of instruments is to furnish to the ear an intelligible and significant melody, it must be subject to the laws of tone and rhythm, to the intervals of scale and measure. The adverb , which stands first, should not be confounded with or , likewise; it signifies: however; so Gal 3:15, where it applies to the word , of a man: The covenant of a being who after all (however) is only a man. So here this adverb, as Hofmann well observes, bears on the word , inanimate: Instruments, which after all are only inanimate beings, are also subject to this law of being intelligible only by means of the distinction of sounds. How much more human language, which is the expression of intelligent thought! It is therefore by no means necessary to apply this , as Meyer does, to the participle : Though, however, giving a sound. This meaning does not agree so well with the position of the adverb.
The pipe and the harp represent, the one wind instruments, the other stringed instruments; they were the two principal instruments which the ancients used in worship and in sad or joyful ceremonies.
How shall it be known: How shall one apprehend the air, and know whether he should weep, dance, etc.?
Vv. 8. The trumpet itself, whose sounds are yet so powerful, is subject to the same law. Its signals are not understood except on condition of being distinct. This example is added to the foregoinghence the also; and it confirms themhence the for. The word , war, is here taken, as often, in the restricted sense of battle. What follows, 1Co 14:9, may be regarded either as the application of the examples quoted, to the gift of tongues, or as a new example borrowed from human speech in general. We shall have to decide between these two interpretations.
Fuente: Godet Commentary (Luke, John, Romans and 1 Corinthians)
Even things without life, giving a voice, whether pipe or harp, if they give not a distinction in the sounds, how shall it be known what is piped or harped?
Fuente: McGarvey and Pendleton Commentaries (New Testament)
Verse 7
Things without life; such as the instruments mentioned below.
Fuente: Abbott’s Illustrated New Testament
14:7 {3} And even things without life giving sound, whether pipe or harp, except they give a distinction in the sounds, how shall it be known what is piped or harped?
(3) He sets forth that which he said by a similitude, which he borrows and takes from instruments of music, which although they speak not perfectly, yet they are distinguished by their sounds, that they may be the better used.
Fuente: Geneva Bible Notes
Even the sounds people make using inanimate musical instruments need to be intelligible to profit anyone. This is especially obvious in the case of a call to battle. If the bugler blows a confused tune, the army will not know whether to attack or retreat. The harp and the flute, as well as the bugle, were commonplace in the Greco-Roman world.